Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Ecuador and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Columbus kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Eyeless In Gaza to the rock kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Avey Tare's Slasher Flicks. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Masters at Work,
Soft Cell,
The Men They Couldn't Hang,
OOIOO,
Icehouse,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
Quando Quango,
The American Breed,
Hasil Adkins,
Gil Scott-Heron and Jamie xx,
Oblivians,
Sugar Minott,
Desert Stars,
Q and Not U,
Fluxion,
Darondo,
Al Stewart,
Kings Of Tomorrow,
Iggy Pop,
Roy Ayers,
Delon & Dalcan,
The Black Dice,
Bootsy Collins,
Stereo Dub,
Lafayette Afro Rock Band,
Ajijia Myrayebe,
B.T. Express,
Robert Hood,
Public Image Ltd.,
Inner City,
James Chance & The Contortions,
Anthony Braxton,
Laurel Aitken,
The Slackers,
Electric Prunes,
Sun Ra,
The Misunderstood,
Blossom Toes,
Amon Düül II,
Tubeway Army,
Man Eating Sloth,
Vainqueur,
Aloha Tigers,
X-101,
L. Decosne,
Danielle Patucci,
The Dave Clark Five,
Nik Kershaw,
Roy Ayers Ubiquity,
Little Man,
Stiv Bators,
Sight & Sound,
the Fania All-Stars,
Sällskapet,
The Gories,
The Monks,
Major Organ And The Adding Machine,
Cluster, Cluster, Cluster, Cluster.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.